Japan Cinema2015-12-03T18:26:59Zhttp://japancinema.net/feed/atom/WordPresscello85http://japancinema.net/?p=266092015-12-03T18:26:59Z2015-12-03T18:25:54ZOne of this year’s most anticipated films is undoubtedly the new Star Wars installment, but the existing films feature a fair few mistakes that you may not have spotted – like these five.

1.) The wacky jacket

The scene in The Empire Strikes Back where Princess Leia tells Han Solo “I love you”, before Han replies “I know” has become one of the most famous sequences in the original trilogy. However, what a lot of people don’t notice is that before Leia says her line Han is wearing a t-shirt with no jacket, while when the camera is one him while she delivers the line, he suddenly has his jacket on. It’s a pretty remarkable continuity error for such a big film to miss, but maybe someone used the force to get the jacket onto Han’s back mid scene.

2.) The neck effect

We see Darth Vader’s ruthlessness when he throttles a rebel for refusing to reveal where the Death Star plans are kept, before subsequently snapping his neck. You would think the combination of the two would guarantee death, but when Vader goes on to throw him against a wall, it’s a mystery why said rebel puts up his hands to protect his beautiful face. Clearly he’s okay with neck-breaking, but doesn’t want his cheek scratched. No one noticed this at the time, but it’s been spotted by fans in years since. Many people believe this was Darth Vader’s most common way to kill. However there’s only a 1 in 17,000 chance of being force choked by Darth Vader. So keep an eye out for the storm troopers!

3.) Stormtrooper blooper

The scene in the original film where an Imperial Stormtrooper bangs his head on a door while they are marching into a room, has gone down in Star Wars folklore as one of the biggest bloopers. Providing a little Ed Wood moment in the middle of the film, it is so celebrated that later DVD releases have added a thumping sound for added realism. That’s how to handle an on-set screw-up with class.

4.) Great shot Greedo

The sequence in the very first Han Solo film where Han Solo comes up against Greedo in the cantina has become the subject of considerable controversy. In the original cut of the film, Han conceals a gun beneath the table they are both sat at, which he uses to shoot Greedo, before the latter can kill him. George Lucas re-edited the sequence years later to have Greedo fire the first shot. Aside from altering Han’s character, this also meant Greedo missed two spectacularly easy shots, making the sequence pretty unbelievable. It would be fair to say that people noticed.

5.) What about the wire?

Another very famous sequence in the franchise is the lightsabre battle between Darth Vader and Obi-Wan Kenobi that takes place in the Death Star. It’s an exciting scene to be sure and that is probably why nobody at the time – and not many people in subsequent years – noticed the white power wire up Obi-Wan’s sleeve. This was helping to provide the lightsabre effect, but it clearly should have been better hidden than it was during the filming.

The upcoming new film promises to be just as thrilling as the previous ones, based on the trailers that have been released so far.

]]>0cello85http://japancinema.net/?p=265942015-04-29T23:54:22Z2015-05-01T00:02:42ZChan Hwee Chong marks one of the last artists we feature in the Creative Spotlight. We choose him specifically due to his creative advertising ideas that are way outside the box. Chan Hwee Chong is a creative who likes to experiment with different field of art and design, from street installations, typography, art direction and graphic design. His work are published in books like “Paradise of Paper Art”, “Bookshelf Design” and he is also featured in “Asia Creatives: 150 Emerging Talents in Art, Design, Illustration and Photography.” His work have also been selected and exhibited at Spikes Asia, Noise Singapore and Higher Pitch London. He is also an invited artist for the Tokyo Designers Week 2014 at Milan Salone, Italy and Tomorrowland/One World Bridge in Belgium. He currently works as a advertising creative director in Beijing, China. Read below for the full Q&A…

Last year you were Singapore-based and now you’re in Beijing. What brought upon the shift and how has it effected your career?

Actually, I have been working outside of Singapore since 2010. I started in Shanghai, then Hamburg and now, I’m in Beijing. There are always so much to explore and learn in a new city. Being exposed to new environments has inspired and influenced my work. I would encourage all creatives to experience working in another city, at least once.

As an artist who focuses primarily on advertising, how is China’s advertising industry different from Singapore’s advertising industry?

China’s market is much bigger and a lot more exciting than Singapore. The pace is also a lot quicker but that means you get more work done at the end of the day.

How many women are there in your creative department? Are you noticing shifts in how women and girls are represented in the creative industry both at the agency and client side?

I think it’s about 60%(men) and 40%(women) in the Beijing’s creative department. It’s all about the work and gender hardly matters.

I really like the minimal book shelf. Not only are you creating a functioning piece of furniture but you are also solving a problem such as external bookends. Is it hard to create ideas that combine form and function like that?

The objective was to create a design that is nonintrusive, yet responsive to its surroundings. With clear identification of the objective and the problem, it helps to solve things easily.

You have worked in many different markets throughout your career; can you tell me about one or two positive things that makes the Chinese market worth working in?

The part that I like most about advertising in China is that the deadline is always yesterday. Clients are almost always behind schedule when they brief us. However, it means that things move really fast and more work gets done.

What are some of your favorite Asian films or anime?

I love the action comedies from Hong Kong. They are so silly that it’s cool.

What can you tell us about your latest work & campaigns? How successful has it been so far? Do you have any results that you can share with us?

I just finished a new typefac, ROBO, which is inspired by robots. It’s a personal project and also, I am working on a street art project, The Lightstick Graffiti, which has been ongoing since last year. I hope to have a personal typography exhibition later this year.

I hear Twitter is banned in China. Are there other social media and connectivity restrictions that make your job a bit difficult? How do you get around these obstacles?

There are Weibo, WeChat and other platforms in China. On top of that, we can easily get a VPN to access the banned sites so it’s not really a big problem.

What do you think about the role of in-destination marketing in this day and age of technological advances? How it has evolved during the years? What is key when producing such campaigns?

I think it’s still about the idea. Ideas that are relevant and solve problems. Once we have that, it’s just about how we get our ideas across to our targeted audience effectively.

Lastly, any advice for any budding creatives looking to achieve success?

End of the day, it’s all about how much you want to succeed. If you really really want it, you will succeed.

]]>0cello85http://japancinema.net/?p=265292015-04-28T02:59:10Z2015-04-28T02:02:54ZIf you have been living under a rock and still do not know who Tony Jaa (Ong Bak) is, things are about to change. The Thai martial arts superstar is looking to have a major career year in 2015. He is set to finally make a name for himself outside of Thailand with a mixture of Hollywood and Hong Kong projects including: Furious 7, SPL II, Skin Trade, and more! We talk to him about these barrage of films, whats next for him, and much more! Read below for the full interview…

Skin Trade deals with the very real situation of human trafficking. How important does the films message and the character of Tony Vitayakul mean to you?

This is very important to me. The issue of human trafficking is very relevant in Asia. The Thai government has been making great efforts to halt this. It is in my view one of the worst possible crimes that can be committed. Anything that can be done to stop this should be done.

When you first began work on Skin Trade you weren’t fluent in English. Your English in the film is really well-done. What brought upon the decision to learn English more?

It is really quite simple, if you want to be in international films you must speak English. It is pretty useful for shopping overseas as well

Earlier this year you appeared in Furious 7, which is the highest grossing film in the country this year thus far. With these two films and your English improving everyday, are we likely to see you in more U.S. based films compared to earlier in your career?

That is certainly my hope, I have a number of projects under discussion with various studios in the United States, and I certainly enjoyed working on Furious 7.

You move unbelievably fast in this film and it is really great there is no shaky cam involved in the fight scenes. How much involvement did you have with the stunts and direction of the fights within Skin Trade?

I had a good deal of input. On my fight with Michael Jai White we did the choreography together, and practiced for quite a few days until we felt we had it right.

What are some of your own personal favorite films?

Too many to name, and if I forget one I will feel bad later.

And why were you restricted for so long with the Thai Studio that you previously worked with? Did they view you as a threat if you wanted to work outside the country?

I can’t really answer this, you would have to ask them. However, the past is the past, and it is always best to look ahead, not back.

Fair enough. Do you feel there are other talented stars who are restricted by their country as well. For instance, maybe that is why JeeJa Yanin hasn’t really gained cross-over appeal in the U.S. yet? Any thoughts on that?

Jeeja is very talented, she will be doing her first International film next month. We see each other quite often, and I am confident she will do well overseas.

You also worked on SPL II in Hong Kong. Is there a major difference between filming a movie in Thailand and the U.S. versus China? What can fans expect?

The style of the film, story pace and acting is different. SPL II is geared more towards the taste of Asian audiences, especially China. I think the story will still play well with Western audiences. Each film has its own flavor. A lot of it depends on the director, cast and crew. I had a great time on all the films I made last year.

Now that you are approaching your 40s do you see an evolution in the roles you want to be cast? Or do you have no expectations of slowing down as a stunt performer and action star?

So far I have not needed to slow down, lets see how it goes…

Want to stay up to date on all of Tony’s filmworks? Follow his cookie crumb trail below and make sure to watch Skin Trade on VOD & iTunes now and in theaters May 8th!

]]>0cello85http://japancinema.net/?p=264852015-04-23T00:37:25Z2015-04-24T00:02:30ZThis is the Dragon Ball Z Movie experience I always wanted. While Battle of Gods was an amazingly fun light-hearted adventure, this is the badass action-packed DBZ that we wanted since the Cell Saga. Goku and Vegeta have now ascended to Gods with a new master. I absolutely loved the exploration of Goku and Vegeta’s character dynamics and development throughout the training scenes, with the new master not only being a physical mentor but a spiritual one as well.

Immediately striking about Resurrection ‘F’ is the strong plot, which is certainly not always the case with Dragonball movies. For the majority of the events and decisions throughout the film, is a statement that often precedes the already mentioned subtle, can be found. Even the great gap between Goku, who grew tremendously throughout the seasons and movies, and just revived Frieza, are more or less credibly explained. Even Goku’s immaturity attitude will not lead to yet another victory, but be punished here.

The enormous technological progress made since Battle of God, the return of Frieza, as well as the usual voice actors who resume their task and do what they do best, make the connection completely seamlessly with the wider Dragonball / Dragonball Z canon. Yet it is not nostalgia that the clock strikes. Thus Toriyama and company learned from their mistakes. Unlike Battle of God’s, Resurrection ‘F’ for example, much less becomes the great Goku show. Finally we see Gohan, Piccolo and especially Vegeta action. A full glory moment for the Saiyan prince comes and the other not, as usual, occupied by Goku. Also includes fan-favorite rascals Goten and Trunks nowhere to be seen…

Bills provides much of the comedy in his own unique manner as one of the best new DBZ Characters ever. Speaking of new characters, I’m pleasantly surprised by Frieza’s new minions, especially Sorbet as he’s actually useful throughout the movie and not just fodder like the rest of Frieza’s army. The invasion scene was amazing as it put the Z warriors back in the spotlight and gave the movie some much-needed tension. Especially Gohan; not since his fight with Cell has he been this badass! Speaking of badassery, the very definition of the word, Vegeta, finally gets his time to really shine – it is straight up brawls in that over-the-top fashion we all know and love delivered by the Prince of all Saiyans. In the end, the 15th DBZ Film featured the return of the greatest Anime villain of all time: Frieza in a Battle of Gods with the Super Saiyan God Goku. It’s just classic!

]]>0cello85http://japancinema.net/?p=263582015-04-09T14:52:10Z2015-04-09T15:02:33ZYoshi Sodeoka is a Japan born artist and musician who has been producing art projects since the early 1990s. In 1989, he moved to NYC to study at the Pratt Institute, armed with years of art education. Sodeoka’s neo-psychedelic work with video, GIFs and print simultaneously inhabits the world of fine art, music, fashion, and advertising (developing projects with brands like Apple and Nike). Sodeoka’s work has been shown all over the world. Today, we sit down and discuss his latest work, his process, and more. Read below for the full Q&A…

How do you think your career would be different if you studied art & design in the 2000s versus the late 80s?

Maybe not so different. But I have to admit that the amount of learning resources available for free nowadays is pretty amazing. There were no Youtube tutorials or online forums before the internet obviously. But even after doing this for so long, I’m still constantly learning new things. The environment for learnings have been evolving gradually over time and I’ve been in the process of that constantly. It’s not like my education ended after I graduated art school. So, I really don’t have any good answer for this question.

Are you an advocate for formal education? Do you believe it helped you early on in your career?

I’m not an advocate for formal education at all. I happen to have had a good art education. I have to thank my parents for that. But I know a lot of great artists without any formal educations. It is just a matter of the level of commitment that people put into.

How do you get into a different headspace when working with musicians versus the fashion world and advertising? Is there a common theme or it took a lot of work to become multidisciplined?

I try to treat everything and everyone the same and keep the same attitude toward every project that I deal with. What’s important is to have a good mutual respect to each other when I work with different people.

What was the creative process behind one of your latest projects ‘Ice Cream Cathedral – The Chalk Line’ video? Its quite psychedelic and very intricate!

Thanks! I honestly don’t remember how it ended up being what that looks like in the end. It started out with a small idea. Then I just kept on building it. And the result turned to out to be something I could be really happy with.

There doesn’t seem to be too many people pioneering experimental digital videos. What have you learned about digital and video art distribution through these experiences?

You might be right that the experimental video art scene is small. But I recognize this as a movement, and every movement starts out small from underground. But I’m not saying that this has to be a big movement in the future. That’s not really the point in what I’m saying. What’s important is that artists like us keep doing what we believe in and leave something behind. That’s why I started Undervolt & Co. to document and archive this movement for a future reference.

What are some of your favorite Asian films or anime?

I loved Ultra Seven as a child. I had a chance to watch some of the episodes recently and was amazed to find out how ahead of the time that show was.

As a fan of 70s progressive rock, the preferred medium was vinyl records at the time. There seems to be quite a resurgence recently of vinyl. Are you an advocate of this medium coming back to the forefront?

Not so much. I mean I love vinyls. But I’m not attached to the medium. I like the convenience of streaming music honestly. Things come and go. I have no issues adjusting to changes.

What do you have planned for the remainder of 2015?

I’ve been working on a few music video commissions lately. And I have another commission to make a lengthy psychedelic visual sequence for a movie. I’m not sure what’s coming after those honestly. But I hope I will be working on something interesting later in the year.

Lastly, any advice for a budding creative?

Be different. Keep learning new things everyday and never stop practicing your skills.

]]>0cello85http://japancinema.net/?p=262532015-03-28T14:24:41Z2015-03-31T00:02:26ZAs we wind down to our final episode, we feature Jon Lau, who is an illustrator based in Los Angeles. He graduated from Art Center College of Design and paints primarily with gouache, and loves garlic. We sat down to discuss his creative process, anime, and more! Read the full Q&A below…

You’ve been included in the right group shows, the right publications, and had some stellar clients. You’re a great artist, no doubt, but you must have a savy business sense in order to appear in all the right places. Could you tell us a bit about your strategy as an artist?

Thanks! Something I’m so thankful to have learned and accepted early on is that it’s essential to aim to be as visible as possible with your work. I can understand and relate to what it means to an artist to be reclusive and protective about their work, but in the professional context, it makes no sense to expect your opportunities to be consistent if you go into hiding and do nothing to promote it.

I love the calendars! You did a bit of crowd sourcing for it, correct? What is it like garnering the attention of the community to make your work see the light? A bit nervewracking?

Yes, we were able to successfully fund the Meimei + Po calendars through Kickstarter! The response we received from the community, many of which are dear friends and family, was just overwhelming. It was pretty intense, and I couldn’t have done it without my business partner Natalie, because even if it doesn’t hurt to have a good product, so much more goes into making a crowd-funding campaign effective.

I wanted to highlight one aspect of your work and that is how you articulate petals and leaves. What is your fascination with them and are they hard to illustrate since they can take so many forms?

Flowers are actually some of the hardest things for me to paint. I’m drawn to them because they seem to at once demand the most of my design and representational picture-making capabilities. Painting them occasionally reduces me to tears, ha.. Because they take so many forms, the process is more unpredictable than anything else I depict. I learned in school that an artist should be excited yet terrified as they make work…or something to that effect. I think they also seem to represent the way I make my work– leaf by leaf, petal by petal, and there’s also a meditative quality to the activity that I enjoy so much.

Tell us a bit about your time in Japan last year and how you grew as an artist?

I spent a month in Japan as an artist in residence at Shiro Oni Studio in Onishi, Gunma. Prior to my time there I’d never really been away from home, and I generally identified as a bumbling, wifi-addicted sheltered boy from the suburbs (still do). I’m so fortunate to live as comfortably as I do, but a side effect from living in Los Angeles is feeling a little too well connected to everything. It’s so easy and enticing to tune in on what trends are taking off, that at some point you just stop being curious and explorative altogether when the answers are given to you. The opportunity to sequester myself in the Japanese countryside for a month got me to ask myself the right questions in order to propel my creative vision forward, and even more importantly, reminded me why I loved to paint so much. I don’t speak Japanese, I have a horrible sense of direction, and I only really had Internet access whenever I visited 7-11’s (which are AMAZING there), but I somehow made it back in one piece, and I loved every moment.

Do you have any favorite Asian films or anime?

Anything and everything by Hayao Miyazaki, especially Spirited Away, which makes me cry Ghibli-sized tears every time. Sorry in advance that my taste in anime is so outdated but some other favorites are Samurai Champloo, Cowboy Bebop, and Tokyo Godfathers. I did recently watch Attack on Titan, so I’m excited for the second season to come out!

The fabric work on your pieces is really great. How did you stumble upon Ginza brushes and why does this particular tool suite your needs?

I stumbled upon them completely by chance at a local art supply store in Hong Kong, where I stayed with my family before I flew to Japan for the residency. The Ginza brand sadly doesn’t come up online, but I’ve had my family clear out the stocks of every stationery store in the city because I’m crazy. It turns out they’re nail art brushes that are relatively common and extremely cheap in China! They’re perfect for the level of precision and delicacy I personally crave in my work, and because they have roughly three hairs a brush, they hold no paint and they are why I complain about being so slow.

Your pieces are very whimsical. Have you ever attempted to do art while in a funk or bad mood? Do results vary?

I’m a naturally happy person, and I notice on days when I’m too caught up in something that distresses me, the overall quality of my work suffers. I view the ‘world’ in terms of possibilities, and I feel that my art reflects that– its apparent whimsicality is owed entirely to uninhibitedly asking myself and others, “what if?” and “why not?” It’s weird I know, but in essence it’s part of my job to think more healthily and be more mentally balanced to maximize my creative output. Some days you just really need a breather and a moment to collect yourself before you resume working.

When you are working, do you discuss or exchange ideas with your colleagues/peers?

Always! I find it so helpful and fun to be able to think out loud with my friends and peers. I love the way ideas form and even stack on top of one another, and how they rapidly change from tangent to tangent in a conversation. It also helps to get out of your own head for a bit, precious though it may be, because I personally subscribe to art thriving best in a community. The excitement is infectious.

Want to stay on top of all of Jon’s work? Follow his cookie crumb trail below:

]]>0cello85http://japancinema.net/?p=261462015-03-13T17:52:23Z2015-03-17T00:02:06ZThis week we feature a wonderful artist whom, after studying at Syracuse University and California Institute of the Arts, worked in LA feature animation and wandered some in music videos. Kenard has worked for a good while as a visual development artist at Dreamworks, Walt Disney Feature Animation, and PDI Dreamworks. His picture books, another great side project, features simple illustrations that rely heavily on bold shapes and layers of texture to create a wonderful children’s book that the whole family can enjoy. Read below for the full Q&A…

Growing up on the East Coast, were you a bit intimidated to begin working on the West Coast, LA especially?

The West Coast was so foreign that I had no gauge whatsoever. I literally thought all of LA was along the Pacific with swaying palm trees and to its east was a vast empty desert with cactus. Now that I think about it, I guess I wasn’t that far off — I just didn’t know about the endless sprawl of strip malls in the middle. My naivete, however, wasn’t particular to California. There was very little I understood about the East. I may have simply taken my hometown for granted. I wasn’t intimidated, but more blindly driven. It could’ve easily been Seoul, Iceland, Idaho, or the next town over. I just knew I had to get out there. How fortunate and odd that I actually did it.

Could you walk us through the creative process of your new picture book Flowers Are Calling”?

I have trouble talking about my creative process, because I really don’t have one. At least not a method that repeats itself. “Flowers Are Calling” is my third picture book, and the process I had found myself in is very different from the things I did for my first and second books. For Flowers, I started with very loose sketches that in the end, to my surprise, I used deliberately. What I mean by this is if you look at my first notes and drawings, they are remarkably similar to the end results in the final spreads. As I added details, a sort of idea stacking commenced, and daily work added one thing to another. Less like a house of cards, more like a rubber band ball. I used lots of watercolor paintings that varied in scope: simple field washes, textured marks, and more finished backgrounds. Everything goes into Photoshop, but I put a lot of effort into making the art look traditional (emphasis on “look”). I had a great editor and art director that I’d bounce ideas off, and I woke up one morning with finished art work.

The nursery rhymes will reel the kids in, but your work is very a sophisticated blend. Do you think kids can appreciate the intricate details in your work?

I don’t think so, but who really cares? One thing I’ve learned from kids is that they’re brutal critics (and I really do appreciate this), and even if they don’t like a picture book that they’re looking at, the kids may make it their own and have fun regardless. I do have to admit that my dense textures and details are not necessarily for kids, but I’m not sure if they’re for adults either!

Jumping topics, to The Dinner that cooked itself, Ancient China..food….are these big topics of interest for you wherein you can share culture with a young audience?

Yes! The author J.C. Hsyu and I had decided from day one that the focal point of “The Dinner That Cooked Itself” would be food. We structured the story so that food is the most occuring image. Food is a strange space where cultural differences can be very distinct, yet we all need to eat to stay alive. It’s not coincidental that in the book the cooked meals are accompanied by different kinds of animals and plants. I think learning about food is an excellent way for kids to learn about different countries and cultures.

As a creative, do you work better having a restrictive list of rules and directions, or do you like to just go crazy in the studio with an unpredictable result?

I guess I usually like to go crazy, but as I described above a list of rules is helpful. Only in this case, a list of rules emerged, so it’s not like I planned it.

What are some of your favorite Asian films or Anime?

I don’t really watch movies these days. I did like the films of Koreeda Hirokazu, but I haven’t watched one in a while. I may sit down and watch a section from an Ozu movie — I love his quiet, empty spaces. Mushi-shi is interesting for the same qualities.

Unfortunately news about PDI, and as a former animator there yourself do you agree with Dreamworks statement that, “The No. 1 priority for core film business is to deliver consistent creative and financial success.” Is creative success only successful if it generates a profit? Do you see a big error with the way things were handled?

No, I don’t see a big error with the way things were handled. Every journeyman to veteran understands what they’re in for when they work at a big Hollywood company. My ultimate concern is for the workers to somehow keep their jobs, find some semblance of stability, and maintain their rights with the executives. That balance of “consistent creative and financial success” is a practical method, and if someone can think of a specific better way, everyone from the board members to summer interns is ready to hear you out. What does go awry is that connection with the audience,. Some companies coat tail ride trends, others use a tried and trusty system or cruise with a franchise, and a couple others may just get lucky. Once in a blue moon, someone strikes gold, or, even more rare, make something truly transcending. It all really does seem like a crap shoot to me, but that’s the free market. Nevertheless, a lot of hard work goes into these movies.

You stated your first book has a 2016 release date. Since we are a ways off, could you tell us what you have in the pipeline? Plot, art direction, surprises, etc.?

I have a whole series with Henry Holt that I’m writing about seasonal changes! The first one is about summer to autumn, and the images are based on my memories of Maryland: breezy fields, tall forests, and small, old colonial towns. The style is simpler and has more of a traditional watercolor painting feel. The writing is very simple. Looking at it now, it’s an homage to Richard Scarry, Adrienne Adams, and Andrew Wyeth. I’m just starting on the autumn to winter book. I’m also doing another book with Rita Gray about dreaming animals, and also a bird story with Kyo Maclear. There’s also a cat book in the future too.

Aside from that, do you have any plans to go back to music videos or animation/film?

Yeah, I don’t think I’m finished with animation and music videos just yet. I am finished with film — does that make any sense?

Sure. Lastly, any advice for any budding creative?

My best advice: please be honest with yourself. Work with what you truly like. Unfortunately for some, things will take a while to figure out, but for those of you who know themselves that well, good for you — and I really do mean that.

]]>0cello85http://japancinema.net/?p=261112015-03-12T20:33:03Z2015-03-12T20:02:33ZAs we near the #400th episode of the Creative Spotlight it’s important that we feature really bright individuals who are driven. Jessica HJ. Lee is an illustrator/designer living and working in San Francisco, California. She holds a BFA in Communication Design from Parsons the New School for Design and a MFA from School of Visual Arts, Illustration as Visual Essay program. She has wn multiple awards and has had some really big clients. I sit down and talk to her about her formal education to her creative process. Read below for the full Q&A…

When did you know you wanted to be an artist?

I loved drawing as a little kid, and I think I always knew I wanted to do be an artist or do something creative/art related.

You got your degrees at pretty much the right institutes to achieve a great career. What brought you to the west coast after getting formal education in NY and living in Brooklyn?

I went to college and graduate school in NY, and ended up staying there for 10 years. I was a freelance illustrator for a while in New York, and a great job opportunity to do full time design and illustration at a company in SF came up so I decided to move and try something new. So I actually have a day job now and the rest of the time I work on freelance illustration assignments.

Why did you pursue a masters? Was it a degree program that gave designers and illustrators more relevance as entrepreneurs? So you could hustle harder as a freelancer?

I studied design in undergrad and wanted to shift my career towards illustration more, so I got my MFA at SVA, studying Illustration as Visual Essay. The program really encouraged people to be their own authors and gave exposure to illustrators and art directors in the working field to prep the students for the real world. Also the average age of students in the graduate program are older than undergrad, so people tend to be more focused and know what they are doing.

I love how you can communicate through color theory. For instance Plant lover has a green overall aesthetic while meat lover is red. It seems obvious but it works on a subconscious level. What is your creative process for choosing a color palette for each piece?

I think color is always the hardest and the most fun part of my work because it’s the last part of the process. I draw everything on paper with pencil and do the coloring on the computer so It’s fun to see it come to life with colors at the end. Sometimes I plan out the colors in the initial sketch stage, but I usually play around a lot in photoshop until I get it just right. I usually just go with the gut feeling.

What are some of your favorite Asian films or anime?

I grew up with manga and anime, and some of my favorites were Sailor Moon, Neon Genesis Evangelion, and all the Studio Ghibli movies. I also like movies by Japanese director Shunji Iwai, and my favorites are Hana & Alice and All about Lily Chou-Chou. Recent favorite asian movie is Kung-Fu Hustle.

Does your skills as a graphic designer ever bleed into your illustrations? Or perhaps it gives you an advantage over regular artists?

My graphic design skills helped me more than I think it would in my illustration practices. I think once you acquire a skill/knowledge in depth, you always find a way to intergrade it into what you do. For me, my knowledge of typography was extremely useful because I like to incorporate hand lettering into my illustrations. Also other technical skills like Photoshop, editing and layout skills in InDesign, as well as knowing a bit of HTML was useful because at the end of the day you need to showcase your work on the web.

How do you distinguish yourself between being just an artist and being a visual Storyteller? It can be difficult to convey a message or story to an audience without being there to tell them directly.

I use the term visual storyteller because I like to make up characters and create background stories about them in my work. Depending on how detailed the narrative is, I think the interpretation is still up to the viewer but I would like to think that my work is more narrative than just image based or abstract.

Whats ahead for you in 2015?

I’m working on some exciting projects at my day job that includes a lot of drawing and designing. Besides my job, I plan on doing more freelance illustration and personal work.

Lastly, any advice for any first year student looking to get the most out of the illustration and/or design classes?

The advice I would give is to think about what it is that you really want to pursue. It’s really hard to know what you want to do exactly at an early age/stage as a freshmen in college, but I would recommend looking at the type of work that intrigues you, and deep dive into making lots of work, go through trial and error, and do lots of research on who made those works and how they did it. You can email those professionals to get advice, get internship, etc. Be proactive, be eager to learn, read lots of great books and work hard!

Want to follow more of Jessica’s art? Follow her cookie crumb trail below:

]]>0cello85http://japancinema.net/?p=260842015-03-07T02:32:33Z2015-03-10T00:02:00ZPuzzleman Leung was born in Macao and now is a Taipei based photographer. He not only takes only portraiture photographs, but even some editorial and fashion portraiture photographs. His work made me very curious and after studying his broad range of work I decided to sit down and pick his brain. Read below for the full Q&A…

How does the conscience decision to publish a book come into play. Do you just realize ‘I have a lot of nature photos’ and compile them all into a publication? Or do you set out with a theme and shoot with the intention of including them in a book?

In both cases you mentioned exist. But usually I just shoot first then examine what I have done. If there is something can go further, I will focus on that theme and then make a book of it. For example, the book “XL” was based on this. Firstly I just took photos of him, one day I realized that this theme could be come into a book. So I keep taking lots of photos of him. One day I think it’s time to make this book into reality. That’s how it happened. For the book “In the Forest and Wilderness”, as you said, I had lots of photos, and I had a feeling to make them into a book, so I compile them into a book form. I love photo book and magazines with beautiful photos. I think that’s the best way to express photography today. (Though there must have a better way express photography, today book form is the best.) When open a photo book, it just like sitting in the cinema and waiting for a movie to be started. But book is the form you can touch by your skin, it’s a bit more real than a movie.

Can you tell us about your process when editing photo books?

First of all, I would figure out the book design, what kind of binding to be use this time? What emotion I want to express? Once I get the answers, I would print the major part of the photos first and then put them on the floor to examine what secret lies in between them. After make decision of the basic sequence, I would add more photos to complete the sequence. The next thing is to design the text, cover and other things. I love the whole process of making a book, it is one of the amazing thing of the world.

Do you think it is important for audiences to understand the photographer’s work and motives?

Not really. Every audience has the right to interpret the works. How they interpret reflect what story behind the audiences. I think it is not the most important for the audiences to understand the work and motives. I don’t see the differences between understand and don’t understand the motives. To me what’s important is if the work affect the one’s emotion. It usually cannot be reach for the moment but in the future.

Your work with Chih Han Yang is really cool. As I explore your book I notice you predominantly shoot women. Is this a preference, or do you get better results out of female models?

Chih Han Yang is a cool girl, and she is also a photographer in Taiwan, it’s an interesting experience to work with her. I think it always get better results out of female models probably because I hope the character in my photos is gentle and soft, it is more fit my emotion which I want to express, but sometimes I need someone strong for sure. I have been trying to shoot man but I still not meet a apposite man character, I will keep trying. By the way, I have made a book which subject is a friend of mine, male, called “XL”, and I quite like those photos, so I think male can be my character but just takes time to find one.

Your work also has an underlay with a certain sense of humor. Some series hide the subjects face or their eyes are covered. Does this convey your own vulnerability or am I reading too much into it?

I am happy you see my sense of humor, that’s what I really want to show people. You are not reading too much, I think my photos present my vulnerability. I am shy and vulnerable so photography helps me to become more mature. Besides, I want to show people more than just a pretty photo but with some interesting emotion. It always makes me excited when I take a “strange” photo.

I heard in Taipei that there is a danger in photography being too subjective because you can become too stylish. What are your thoughts on that?

People like to classify photographers in Taiwan. Few people would like your photos if you are very stylish while lots of people prefer to see common things. It is not easy to be too stylish and earn lots of money at the same time because the market just need some common thing in the end. I see many talent and stylish photographers in Taiwan but usually they cannot live well here because the mainstream market doesn’t accept them. Ironically, most of them are getting success when they leave Taiwan.

What are some of your favorite Asian films?

I love the Hong Kong movies in 90’s. Among that my favourites must be the movies directed by Wong Kar-Wai. Days of Being Wild, Chungking Express, Ashes of Time, etc. Almost all of his movie is treasure. I love the elegances, beauty, philosophy and romances in his movies. I also love “Made in Hong Kong”, directed by Fruit Chan, “He’s a woman, she’s man”, directed by Chan Ho-sun. There is a imperfection in the 90’s Hong Kong movies but this imperfection makes them a perfect movie to me. Besides, Stephen Chow is another favourite, I love all of his movie and can be repeated endlessly, his movies affect people’s sense of humor in Chinese regions.

What equipment do you use?

I use medium format and 135 format film camera, and a Canon 5D mark3 DSLR.

What is ahead for you in 2015?

I hope I can get my master degree and I am still working on it, that is my important mission in 2015.

Lastly, any advice for a budding photographer just starting out?

I think I am also a photographer just starting out, I can just share my thoughts about being a photographer. I think it is important to tell people your style rather than follow the trend, you must find what you really like and you don’t like, which is very important because it makes everyone different and if you find a way just go for it and don’t be afraid of loneliness and failure. You just keep trying before the success comes someday.

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]]>0cello85http://japancinema.net/?p=260662015-03-05T17:43:47Z2015-03-05T17:02:43ZIn this episode we sit down with bassist Irita Pai, part of a trio that seems to be making some noise in the L.A underground. L.A. Witch are an all-girl outfit consisting of her bandmates Ellie and Sade but after the news broke that they will perform at Psych Fest and their new 7″ vinyl deal fell through (for the time being), I had to jump at the chance to feature Irita. After a quick text message, she immediately pinged my phone back to let me know she was down. Read below for the full interview…

I have to say, I’m a big fan of you personally because Japan Cinema began for me similar to how you created your online e-mail magazine that you curated content for. What was it like venturing out indepentedly making money and supporting yourself during the internet age?

I started that online magazine when I was in middle school. There wasn’t really any money to be made, it was just a fun thing to do and a creative outlet for my ideas and words and images. I did get some cool sponsors like this 90’s fragrance brand called Fetish (it was really big at the time), Manic Panic, and a company that made super rad, super 90’s nail polish that would (supposedly) change color depending on your mood.

With numerous degrees, years of corporate experience, and knowledge of social media and business…now that you are a touring musician do you feel that you spent your time wasted and should have focused more on music or do you see it as something solid to fall back on if music doesn’t work out?

It’s weird because I got a pretty serious job straight out of college, with a salary and benefits. If it weren’t for that job, I would never have met anyone in the band because we were all employed by the same company . I couldn’t tour because I couldn’t get time off of work, my boss was the Creative Director and having any sort of passions or even extracurricular activities outside of work was really frowned upon. Being in a band now, I’m probably a lot more responsible than I would have been at 21 so maybe that’s a good thing. I would have gotten into a lot of trouble.

Over the year working it shifted your view on what it takes to be successful in business. Are those realizations something that translated to your success as a musician as well?

I’ve found that no matter what you do in life, work ethic is really important. Successful bands HUSTLE. They’re really driven, they work really hard at what they do, and on top of that are super talented musicians.

It seems like L.A. Witch actually went out of their way to be an all-girl group. Was this to break down the stigma that girls can’t rock as hard as boys?

We didn’t mean to become an all-girl group. I was just jamming with my best girlfriends, we were having fun hanging out with each other and making music. There really was never any pressure to be anything, so everything developed prety organically. Sade and I started the band together and we were with our original drummer for a really long time. When she left, Sade mentioned another drummer she had been in a two-piece band with in high school, and that’s how Ellie joined. Gender roles in the band were never something we consciously thought about.

Which leads into my next question, regarding what is the dynamic like with the band traveling, and before and after shows? Do you spend a lot of time hanging out with the girls or are you guys off doing your own thing?

Touring is definitely fun, we all like to travel and see new places. We get to share clothes and makeup. And beyond that we hang out with each other all the time. We go to shows together, watch movies, make pins. A girl from another all-girl band saw us all out one time, and she said in sort of disbelief, “You guys actually hang out together?!” and we were like, “You don’t?“

Did the EP you guys released last year set out what you wanted it to accomplish?

That EP was actually recorded back in 2013, with our original drummer. We got a lot of great feedback from fans and some rad press write ups, and were able to get our music out there. We’ve met some really amazing people because of it who have really helped us out in the past year or so, like our booking agent Phil, Arabella Anderson and Kelsey Talton who directed our first two music videos, and numerous other bands and artists and photographers we’ve worked with since.

I watched a lot of Doraemon as a kid! One of my favorite movies of all time is this 80’s Hong Kong horror movie called ‘A Chinese Ghost Story’ about this scholar who falls in love with a woman who turns out to be a ghost. More recently I saw a rad Korean movie called ‘The Good, The Bad and the Weird‘ which is a take on Sergio Leone’s ‘The Good, The Bad and The Ugly’ (which is one of my favorite movies of all time). The fight scenes were so good. So gnarly.

What’s your approach to writing bass parts?

I like to sit back and listen, and I can sort of hear or feel where things should go and what would add to the overall mood or style of a song. I’ve played piano since I was six (obviously), music to me is like a language in which you’re fluent, you don’t ever really consciously think about it. You just instinctively know what sounds right.

How did you originally hear about Austin Psych Fest and decide it was a a place you wanted to perform at?

I saw a flyer for the 2011 Austin Psych Fest, and I remember being absolutely blown away by how many great bands were on the bill. And they were all together at one festival! Every year since, the lineup has been getting better and better, and literally every year we tell each other “This is the year we’re going to Austin Psych Fest!” Not even thinking of it as as a performer, but just to go, to experience it as a spectator. But we’ve always been too broke, so it’s really a dream come true for us to be a part of Levitation this year.

You’ve been playing bass now for only a few years. Any advice you could offer up to someone learning to play an instrument for the first time?

Don’t think about it too much. Just play what you feel! Don’t worry about playing a wrong note and never be afraid to experiment!

Make sure to catch L.A. Witch playing in our hometown of Austin, TX in May at Psych Fest! For more info, follow the bands cookie crumb trail below: